Described by the composer as his largest work to date, Rolf Hind's The Tiniest House of Time had its premiere in this BBC Symphony Orchestra programme under Jakub Hru˚ša. At nearly 30 minutes, this accordion concerto is a substantial but volatile piece which repeatedly changes direction and mood. Its title comes from a text by the 15th‑century Indian poet Kabir; lines from the Persian mystic Rumi also head two of its movements.

The piece opens with a clamorous burst of percussion that subsides into sparer, leaner textures; later sections move back and forth between density and lightness. Throughout, it draws from an array of more than 40 percussion instruments, with effects ranging from water being poured from one vessel into another, to string players whipping the air with their bows. However fascinating the sounds were from moment to moment, the impression of intricately conceived effects overshadowed the sense of continuity. Moreover, the performance was regularly interrupted (perhaps involuntarily) by someone calling out from the audience, and an intervention that should have been more promptly resolved. Even so, soloist James Crabb's extraordinary command of an instrument rarely encountered in concerto mode still made an appreciable mark, though he was only allowed his head in a couple of cadenzas; elsewhere, he mostly contributed colour and cohesion to the overall picture.

Hru˚ša maintained control in this demanding piece. Earlier, he had drawn a rich medley of colours from the BBC players in František Jílek's suite from Janáˇcek's opera The Cunning Little Vixen, though other interpreters find more rhythmic vigour and drive in this music than he did. In Rimsky‑Korsakov's Scheherazade, too, the score's heady opulence came over more consistently than its dynamism. The strings maintained their warmth and sheen, though, throughout the melodic expansiveness of the slow movement, and there was some vital and characterful playing from the hardworking brass and woodwind.

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